Last week we spotted a really awesome book project from Minneapolis, USA. Type Capsule is made by Jeongho Park and shows us which fontfaces will survive the future. The book has won the red dot design award and is highly recommended in the web. Therefore we are really proud that Jeongho sent it to us.
About the book by Jeongho Park
Type Capsule is an infographic book about typefaces based on a personal survey. Despite most of the general public’s inability to discriminate between them, thousands of typefaces exist. Numerous designers declare that their type selection for a project is dependent on the content they are communicating. However, some typefaces, such as Garamond and Helvetica, are frequently used, considered “timeless,” and impervious to passing trends and supercede content sensitivity.
Garamond, designed by Claude Garamond in the sixteenth century, is popular and a common typeface, whose popularity persists, even in the digital era. Given the rapid changes in today’s digital age, I became curious about these current frequently used typefaces and their future. So, I
investigated typefaces that I felt were likely to continue to exist and be utilized one century from now by asking a sample of people: “If you had to select five typefaces to put in a time capsule so that you could still use them in 100 years, what would you choose?” The Type Capsule project
began with a survey, which I started to dispatch electronically to 432 designers, design studios, and educators.
I received 125 responses (118 designers or educator, and 7 design studios). Interestingly, 73% of the e-mails I received were returned within 48 hours. The latest answer took fifteen days to arrive. After that, I received no further responses. A total of 191 typefaces were selected by 125 people from 18 countries (Belgium, Brazil, Canada, Denmark, France, Germany, Hong Kong, Italy, Japan, Netherlands, Poland, Russia, Spain, South Korea, Sweden, Switzerland, United Kingdom, and United States of America). Among 191 typefaces, 9 fonts were not able to be identified. 46% of the typefaces were sans serif, and 40% was serif. Script fonts, which were 5%, and 9%, covered the last: Ornamental, Blackletter typefaces.
Interestingly, 89 percent of the selected fonts were produced in the 20th and 21th centuries. A few were designed in the 18th and 19th centuries.
We are very proud to represent the book to you and hope you spread and share it to the world, because this talent has to be featured for this awesome work.